"My first digital recording and my first and only recording with Don McArthur's "Spatial and Intensity Digitizer". The digitizer was not working properly. I had no idea. The shift I saw was stunning. Digitalization of luminosity, strange notion, wonderful light and early digital embodiment. Image/signal in digitized state/space, noise field. I always thought of this to be 100 seconds of very beautiful digital light noise."

The frame is filled with two concentric magnifying lenses, one larger than the other. Behind them is a mirror. The mirror turns and reflects the landscape around it. Distortions of the moving images appear in the lenses while the space behind remains stationary. A voiceover reports what is being seen in each of the layers of space. There are at least three simultaneous soundtracks. One scene is a country house and garden, another is a city apartment.

Playing with cliched feminine personae, Eleanor Antin in The Adventures of a Nurse manipulates cut-out paper dolls to tell the story of innocent Nurse Eleanor who meets one gorgeous, intriguing, and available man after another. Nurse Eleanor is the fantasy creation of Antin, who is costumed as a nurse. Staged on a bedspread and acted by a cast of one, The Adventures of a Nurse moves through successive layers of irony to unravel a childlike, self-enclosed fantasy of a young woman’s life.

Affected and/or Effected begins with a close-up of a girl resting her head on her hand, reading. On the overlapping track a male voice states “affected,"—followed by a female voice that responds “and/or effected….” This pattern of dividing words in half and presenting them in alternating male and female voices continues throughout the video. While what is seen is separated from what is heard, the boundaries between the audio and video portions of the piece are complicated by other sounds. The statement of intent is spoken: "An artist may construct an art.

This title documents the participation of artist Aldo Tambellini at the opening of the 1970 exhibition Vision and Televison. Held at the Rose Art Museum of Brandeis University in Waltham, Massachusetts from January 21st to February 22nd, the exhibition is widely regarded as the first museum exhibition of artist's video. Tambellini (b. 1930) was a pioneer of expanded media in the 1960s, and one of the first artists to use video and television as a medium.

“Mining an ironic vein by turning technology against itself, AlienNATION undercuts the sociological ramifications of modern living. It is an astounding compendium of sci-fi images, textbook diagrams, special effects, and studio props, which together build multiple readings of the alien, the mysterious, and the obscure in American culture.

"This video reflects my interest in examining cultural institutions. In The Amarillo News Tapes, we were interested in observing and dissecting what makes news in a small, Midwestern television market. The video shows the three of us in our respective roles as anchor, weatherman, and sportscaster, interacting with the real Pro News Team on the set.

The only Benglis video with a discernable plot, The Amazing Bow-Wow follows the adventures of a talking, hermaphroditic dog given to Rexina and Babu by a carnival barker. Rexina and Babu soon decide to make the dog a sideshow act hoping to earn their fortune. Babu eventually becomes jealous of Rexina's devotion to the dog and one night attempts to castrate it, accidentally cutting off its tongue. The dog's head becomes hideous and skeletal, ruining its sideshow career and the profits.

An intimate portrait of the artist at his home in San Francisco, this film delves into Mike Kuchar's life and work. The artist portrait explores, among other things, Kuchar's movie/music collections, his mysterious Casablanca editing system and the comic books, religious iconography and sci-fi memorabilia that fill the apartment floor to ceiling.

"This is the first of a set of pieces that involve combining a series of electronic video process recordings, musics, texts and appropriated materials. These multiple elements, simple and tricky grammars, trigger expanding electronic narratives. The trajectories and drags of multiple narratives color the electronics and visa a versa.

With the Watergate hearings as a backdrop, quotes from various newspapers and magazines--including the story of Robert Smithson's death in a plane crash--build a picture of the confusing and tragic events of July 1973. Sonnier uses appropriated footage and reproduced newspaper clippings to create a richly layered video that attempts to sort out the truth from the available information. Sonnier's instructions to the computer operator reference the making of the video, and thereby create a self-conscious, limiting frame.

Concentrating on abstract shapes and color value, Animation 2 is a record of images manipulated through computer animation. By recording the data screens of the animators and the voices of the controllers, Sonnier discloses the process of making the video.

“This tape is about media, and it seems totally unedited, because we hear him talking over the intercom with the engineer… The engineer interjects, ‘Do you want to save any of this stuff?’ Yes, indeed; Sonnier saves and shows it all, the whole process.”